شناسایی و تحلیل آثار رقم‌دار محمد‌باقر جهانمیری ‏(نقاش و کاشی‌نگار شیراز در عصر پهلوی)‏

کاشی‌نگاران شیراز در عصر پهلوی، نقش مهمی در حفظ سنت‌های قاجاری و مرمت بناهای تاریخی در آن دوره داشتند. از آن میان محمدباقر جهانمیری (1262-1338ه.ش) معروف به «حاجی محمدباقر نقاش» یا «حاج باقر»، کاشی‌نگار، شیشه‌نگار، گچ‌نگار و مرمتگر نقاشی‌های دیواری عصر پهلوی است که میراث نقاشی روی کاشی را زنده نگهداشت و تا آخرین لحظۀ زندگی هم‌چنان در پی حفظ این میراث بود. آثار وی به سبب چیره‌دستی در نقاشی و هم‌زمان آشنایی کامل با فنون کاشی‌سازی در روزگار خود ممتاز بود، با این‌ حال این آثار کم‌تر مورد مطالعه و دسته‌بندی قرار گرفته‌اند. هدف پژوهش کنونی شناسایی آثار و تحلیل کاشی‌های رقم‌دار او و ارائۀ دسته‌بندی اولیه‌ای از آثار وی جهت مطالعات تطبیقی با دیگر هنرمندان است. این پژوهش می‌کوشد به این پرسش‌ها پاسخ دهد: حیات هنری محمدباقر جهانمیری به چند دوره قابل ‌تقسیم است؟ حامیان، همکاران و شاگردان وی چه کسانی بوده‌اند؟ و دسته‌بندی آثار و انگاره‌‌های حاکم بر آن‌ها کدامند؟ روش پژوهش، تفسیری-تاریخی، مبتنی بر توصیف و تحلیل داده‌هاست. داده‌ها از منابع کتابخانه‌ای گرد آمده‌‌اند و بخش مهمی از مستندات، حاصل کار میدانی و عکاسی است. نتایج نشان می‌دهد که کاشی‌نگاره‌های محمدباقر جهانمیری را می‌توان در شش گروه شامل «گل‌و‌مرغ‌سازی»، «باستان‌گرایی»، «شمایل‌نگاری و چهره‌پردازی»، «فرنگی‌سازی»، «خیالی‌نگاری» و «کتیبه‌نگاری» جای داد که در کل چهار انگاره را به‌عنوان انگاره‌های حاکم بر آثار مطرح می‌سازند: «انگاره‌های فرنگی» (در طراحی عمارت‌ها، چشم‌اندازها و منظره‌های فرنگی)، «انگاره‌های مذهبی» (در شمایل‌نگاری روایت‌ها و شخصیت‌های مذهبی شیعی)، «انگاره‌های ایران باستان» (در طراحی صحنه‌ها و فیگورهایی از دوران هخامنشی و ساسانی) و «انگاره‌های برگرفته از نقاشی ایرانی» (در طراحی گل‌ومرغ و نقوش گیاهی).

identification and analysis of the signed works of mohammad bāqer jahānmiri (the shīrāz painter and tile painter, during the pahlavi era)

introduction: tile painters artists in shīrāz played an essential role in preserving qājār ‎traditions and restoring historical buildings during the pahlavi era. among them, ‎moḩammad bāqer jahānmiri (1883-1959), known as &hāji moḩammad bāqer-e-naqāsh& or ‎‎&hāji bāqer,& a tile painter, stained glass artist, stucco artist, and mural conservationist of ‎the pahlavi era in shīrāz, kept the legacy of the tile painting alive and worked tirelessly to ‎preserve it until the very end of his life. his works stood out due to his skill in painting and ‎his complete familiarity with ceramic techniques during his time. however, these works ‎have been less studied and categorized. one of the reasons for this is the small number of ‎his works with figures, and another is the shade of tile painters such as mirzā abd al-razzāq ‎kashipaz (1867-1937 or 38).‎research methodthe current research deals with the &interpretive-historical strategy& ‎and an analytical approach to describe, recognize, and study the works and life of ‎moḩammad bāqer jahānmiri, and its final goal is to reach a &monograph.& parts of the ‎necessary data are collected from library sources, and an essential part of the ‎documentation is the result of fieldwork and photography that produced first-hand data and ‎had no previous traces in the research. since the reference to unsigned tiles reduces the ‎accuracy of the results, only signed tiles have been used as the basis for analysis and ‎classification, and the presentation of samples without signs or those attributed to him has ‎been avoided. undoubtedly, some signed tiles may be kept in private buildings or personal ‎collections; therefore, access to them was impossible in this research. the research ‎questions are as follows: (a) at what intervals can jahānmiri’s artistic life be divided? (b) ‎who were his supporters, colleagues, and students? (c) what are the categories of his works ‎and the prevalent themes?‎research findingsthe artistic life of moḩammad bāqer can be divided into three ‎general periods: the first period is the &qājār period,& the second period is the &rezā shāh ‎pahlavi& and the third period is &the moḩammad rezā shāh pahlavi period.& unfortunately, ‎an essential part of the painter haji moḩammad bāqer’s artistic life was spent in the ‎turmoil caused by the persian constitutional revolution (1905-1911), the first world war ‎‎(1914-1918), and the tremendous iranian famine (1917-1919). the names of the masters ‎and workshops he gained experience during the first period of his artistic life have not been ‎mentioned, but it seems that the beginning of his artistic life must be in the era of muzaffar ‎al-din shāh. but so far, no significant works of him related to the qājār period have been ‎found, and there is no document of his collaboration with any tile workshops in that period. ‎the rezā shāh pahlavi era is the second period of moḩammad bāqer’s artistic life. this ‎short period (1925-1941/ 16 years) can be considered the time when many of his important ‎works were created with qājār’s theme and were less affected by the social and political ‎developments of the time. his employers and supporters in this period were folks and ‎wealthy people who owned public buildings. the third period of moḩammad bāqer’s artistic ‎life is the moḩammad rezā shāh pahlavi period. this period is from 1925 until he died in ‎‎1959 (18 years). in these days and ages, most of his activities are to carry out essential ‎orders, primarily government employers. the signed works identified by moḩammad bāqer ‎jahānmiri so far, and i observed them from close inspection or documentation, include 14 ‎works that belong to the second and third periods of his artistic life during the pahlavi era. ‎signed items can be classified into 5 groups in terms of location:‎a) works in residential buildings: sa’dat and towhidi houses and tiles on the front of an ‎unspecified house in shīrāz;‎b) works in religious buildings: vakil mosque, jame atiq mosque, siyavshān mosque, ‎imamzāde seyyed tajuddin qarib, imamzade ibrahim and aghā bābā khān school;‎c) works in commercial buildings: haj naser korhani bazaar;‎d) the works in the monuments: qorān gate and sa’di tomb;‎e) the works in health and treatment buildings: jawanmardi bath and the entrance of ‎namāzi hospital.‎compared to masters such as mirzā abd al-razzāq, his signed method shows that ‎jahānmiri used his name in many cases in a small, simple, and uncomplicated way. this ‎issue can represent his humble and blushing character.‎conclusionin this research, 14 of his signed tiles have been identified, which include a ‎variety of residential, religious, commercial, and memorial buildings. most of his works with ‎figures from religious buildings and monuments are placed at the end of his life. the ‎available evidence shows that jahānmiri did not collaborate with any other tile painter ‎except karim faqfouri, and there is no indication of the number of other painters who ‎worked under him in his works. however, plaster painters and tile painters were trained in ‎his workshop, some of which are known in the oral history of shirāz artists. the classification ‎of his signed tiles shows that these works can be placed in 6 groups, including &floral and ‎bird motif (gol-o-morgh),& &antiquity,& &iconography portraiture,& &europeanized ‎motives,& &imaginary painting,& and &tile-epigraphy.& flower and bird tiles and floral motifs ‎can be seen in almost all works and periods of his artistic life. the analysis of the theme of ‎his tile paintings, in general, suggests four ideas as the ideas governing the works. these ‎cases include &europeanized motifs& (in the design of buildings, landscapes, and western ‎sceneries), &religious motifs& (in the portraits of religious narratives and shi’ite figures), ‎‎&ancient iranian motifs& (in the design of scenes and figures from the achaemenid and ‎sassanid dynasties), and &motifs derived from iranian painting& (in the design of floral and ‎bird motifs and plant patterns). further studies can validate and verify other tiles attributed ‎to jahānmiri based on the design and artistic features governing his works with figures, ‎which hopefully would be noticed by others.‎